Word: brushing
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Dates: during 1960-1969
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That moment in 1910 when Vasily Kandinsky laid down his brush upon finishing a certain watercolor represents what is often regarded as the birth of abstract painting. Last week Manhattan's Guggenheim Museum put the pioneer abstractionist's modern-day reputation to a bold test: at the London art auction house of Sotheby & Co., the museum offered for sale no less than 50 of its 170 Kandinskys. Fears that such a mass sale might depress the market proved unwarranted. For it was painting from Kandinsky's early abstractionist period that brought the top money...
...squiggled from a toothpaste tube onto his paintings are like the hip, harsh expletives that slum kids spew into the summer air. Davis had violence without anger, gaiety without abandon, and his paintings swing and jump with such durable joy that it is as if he had dipped his brush in some eternal fountain of youth...
...shiny black Checker limousine skimmed along Vientiane's pitted streets like a water beetle supported by surface tension. There was plenty of tension in the Laotian capital, but the burly, brush-browed man in the car did not show it. U.S. Ambassador Leonard Un ger was at his unflappable best as he coordinated the search for two downed American aviators and pressed the case for fighter escort to accompany continuing U.S. reconnaissance flights over the Plain of Jars. The ambassador stopped by a cocktail party to talk with a rightist leader, then dropped in on Premier Souvanna Phouma...
...palette, elicits a surprisingly subtle suggestion of a chair. In Rocks and Trees, Maine, the Columbia University painting prof stacks up icy whites and blues like cubes, captures the cold beauty of the rocky coast. In Still Life with Bowl of Fruit, dusty rose and orange tumble from his brush to make one of the most pleasing works in the show. Also some fine drawings. Through...
...Indiana is primarily known for his emblematic circles set in plane-geometry shapes like road signs. Their bright, unmixed colors are so unpainterly that his brush stroke cannot be detected, because, as he says, "impasto is visual indigestion." Usually they are ringed with inscriptions: phrases from Melville and Whitman, or commands in broken stencil type such as EAT, HUG, LOVE, DIE, or ERR. These curt verbs, he believes, represent the vocabulary of the American dream, the "optimistic, generous, and naive" philosophy of plenty that is often mistaken for all the philosophy that the U.S. lives...